New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1887-10-11
MUNKACSY'S "CRRIST on cALVARYr

ACNhACSI'S "CHhiOl ON CALTARYH
The appearance of Munkacsy's "Christ On CaIv.rvr
in this city furnishes interesting confirmation "A
the Judgment passed upon the artist Last year br
thoughtful observers In this pictorial speculation
in the agony Of the Passion which Is exhibited In thu
Twenty third Street Tabernacle where the exhibition
OF tho "Paslon Play" was prohibited. Munkacsy has
repeated himself in such obvious ways To convncs
those who are unhampered by prejudice interest Of
his narrow limitations. He has shown again hin
utter inability to riso to the height Ut great 90
cason, and at the same time ne mas demonstrated
again facility In the sort Of picture making which
deals with broad direct Effects with variety Of ami
mated action, striking costumes, dramatic attitude
and tho expression within a narrow range Of certain
OF the coarser emotions. In the Calvary" the
"Chrst before Pate," tho Christ il figure without
nobility or moral elevation. In the latter picture
Munkacsy painted self wted, querllous fanatic In
tho calvary" he has made an unrelieved study Of
physical agony which might have been painted from
hfe in tho operating room UT accident ward Of q ho<
pita While disclsiming any purpose of painting the
divine Munkacsy has approached moro closely TO the
traditional typo in points OF superhc1a resemblance,
seeking at tho same tmo To disguise tho absence u
spirituality dignity and moral beauty by emphasizing
the horrible aspects VI frightul deAfh AZ picture
Of the CrucHxion with other than material signif
oance this painting fails 1ust the "Chr:st before
pflaten is a failure. But putting the Crucinxieu
ASIDE ~ artist has done In his composition them
remains a picture Of varied action and excited e.
preston which Is Of interest Tno inNnefehcA
Doubt malevolence, hatred and brutality OF the "Pt
laer reappeaR this painting which Is not picture
Of the supreme Tragedy but theatrical rendering VI
an agatated mob. Even tho same modeis-vItness
tho executiOner, Pharisees and 0thtrs-have IN ser
erL instances bcen used again, and certain points In
the composition are to be recognized As readily
mannerisms in cooring and technique.
There are few Egtd censors VI composition outsida
ana INKS
relied with academic conventions a. ne Peasei had
he not gone TO tho extreme VI solecism as oSsioua
as that VI famaiist whose principal charae'en
finish their parts the first act leaving the othefs
TO DO occupied by the minor figures. Tho group
the Cross. Is placed on extreme night Of canv&
thirty feet in length. From the crosses winch
stand on the summit Of Calvary the ground
slopcs downward to tho left and al TIM
spaco IS occupied by figures theoretically OF ilns
consequence In comparison with the inquire of me
Crcifed Ono. which furnishes tho ostensiDie reason
for the pictures existence Perceiving this want OF
balance, tho artist has emphasized tho hgure OF
mounted Arab shek clothed In white, which placed
on the left with the result Of making TWO centres VI
bite while the true centre interest remains al
most tucked away In . corner. The three crosses
which removed from the foreground s'aho III diF
ferent pIanes and behind them an idea OF perspective
is sought 10 be expressed by glimpse OF onhdin'
suppo-ed TO be those Of Jerusalem seen over tha
al
figures at the foot Of the central cross are Roman
saLIier IN the immediate foreground; St. John,
u,e,k nerveless figure In a long rcd robe, the coor
thrown into stronger relief by the black dn-s Z"
Mary tho mother of the saviour VINO kheeiS a. mo
foot of the cross capng His feet In her MANS ner
head covered with white kerehlei her Iaoe hAuly
escn. Beside her kneels Mary Masialen, with bright
.uhuyn hair flowing rich greenlsA-olue tVsa
g., ono Of Henners fayurite combinations OF eoiOrs Be-
hind this figure stands Martha, her Lace
r.,ssd and hand outstretched, and hen
tn the black of her garments soio' NV
sreenish tunic OK the executloncr VINO was s"'h cn
IN, Cruelty hIB,' in the "Pilate' he b'~is w
his shoulder a long ladder which makes a"h"af1I
x,gd horizontal lines cutting heads and faces
AMI morn irk,ome to the spectator than the 'ons
spear In the rilate" The ladder Y gratunoIsS e..
R'her rro ~ Of tho cross and the crowd. but Tho
necessity OF - eApecienl Is iso app@lcn,.
Inward hi. hands extended IN Opposite dfeclions
with the result of imparuDg 10 his NUT ~ "a
balancing motion. No $50 ar%un@ A, Ihey wak
The foremost asure. like the PhaIsee, oeas ssS.as
second o time eaae es the White rosd Arab shs
on his white horse. and on the extreme itIt Is
fleeing ngn 9i license 70 be JTa. IscarOt
In the middle OF the background an eager clvH Is
exclaimng in amazemcnt ard stretchg our az. aus
- viii be .sen there (, very little subtiety IN NC
.rt-t,s manner OF expression. His constant depTs'
ence upon violent ge>tieuiation and pronounce"
gives an effect u dign hei and uneasy: IN 20
similar way h violent color effects ~hie nTS or
a certain richness. havo the richness OF cru h v9
Reds supported by browns form the ruling note; , s
there L. also generous Use of greenslt blue. ,
coors are opposed in masses but less Directly tnaa
the masses Of black and white used to help relief
Nunkacsy's manner OF attacking the eye ut once, 81
sOrciby contrasting colors and lights and opaaus
shadows and his sacrifice OF half tones and graiatoas
" light and shade are tol"rably familiar His con-
tra.ts arc exaggerated, his shadows muhv, and tho
opacity of bituncn apparent "a TO arouse sus
picion thar the pc:me has grown mucn darker wnihn
thr,e years. There weak points IN tis
drawing and modelling. and even the curious long
figure Of Christ would hardly bear academic scrutiny,
but on other hand there is stil the vigor OF exc
merit although must he Acknowledged thar theFe
less dash and freedom than In earlier work rms y
a paintfng produced by coarse means, caictii'rn ~
attack and the and In the more lnpOnsns
Of il. production Even under the trcsy con'Wio.s
~ Lighting and arrangement. emptoNed now a is,'
wear the rtcture ought 70 prove means OF ~
iu-on II i easiest thing in the world - ihnA an
manner % meanings info picture, huf tne 49,
end visitors Of Yesterday should arquaiM tD
with the aItiss artitude toward his WORK inc ~,
no Cor which this pcture was painted and is quAy
per So wi bout being Influenced by nero >uo@F,...
f,r, they assume that picture OF religion, s"vr
Is necessarily religions picture. " l. rvdeh '.
Are ADVERTISING book cir'ula ell by the man 'gfts VI
pirture tina. IL Il hrou ght here to be sold now 80
The the others. il Is longer novelty IN tusass
where no purchaser found for any or me MY Mn
An au,ourt of bra and clap trap when hA
M recent parallel at least the speculative ana,
fearS No danger nom superlatives which NJ p"a,
over rides. rate- was - he Srafrst' ons go
calvary, (. bersled a. sreaer Bur the dsgusths
methods employed In this camrairn or niu-r. an,
re consequence il none OF tho-' VINO co,''| ,,.r
museums allow themselves TO he d'lnd~L no n :
Ican museum can afford tn sduand Z money upom
,s,,,, which teaches no profitable lessons rica>ue~